On Ilkley Moor Baht ‘At

This month has been all about preparing to be an exhibitor at Ilkley Art Show for the first time. I have been holding back some originals from sale for a while, in the hope of this opportunity. I will be displaying two ‘collections’ this August: six paintings from my In Medias Res series and two from a new project, which I am really absorbed by at the moment: a series of palette paintings.

I have described the premise of ‘In Medias Res’ before – these paintings take a section of something long or tall, like a foxglove spire or a tree branch, and depict that section as if it were a chapter of a longer story. To me the meanings of these paintings are clear, but in the exhibition there will be no notes accompanying them, so I will have to see if these ideas come across! I hope that, even in the meaning seems utterly obscure, visitors will still enjoy the rich colours and beautiful flowers. I am adding a couple of new paintings to this group, specially for the Ilkley Show. They are both small, square panels depicting willow. Eventually this will be a set of three, all with a pale pink background but showing the progression from silky grey buds, to green and finally orange leaves. I have painted in the pussy willow panel, though it needs more detail on the buds. I love the simplicity of this composition – it reminds me of Japanese prints in this way. You can see the other Medias Res here.

I think the palette paintings are more self-explanatory. Each painting involves a handful of tiny pictures united by a single colour. So far I have done Amber and Sky Blue. In part I was inspired by an excellent book called The Secret Lives of Colour by Kassia St Clair, but I also like the idea that an artist’s palette is the world around them, as much as tubes of paint. However, as I’ve been planning and painting different colours, I have been struck by how each colour has a different nature and associations. For example, when I was trying to think of different subjects for the light blue palette, I was surprised by how rare this colour is in nature (apart from the occasional blue sky, of course!). And even where it does exist, it is usually the case that the colour is created by special cells or feathers which refract the sky’s colour. So the colour isn’t really in the bird or butterfly, but an illusion. This maybe has something to do with soft blue’s mystical connotations with distance and memory, which again has a scientific basis, in that the further away something is the bluer it appears. The blue palette is nearly finished, but I will be replacing the forget-me-nots with love-in-the-mist, to create a more solid block of colour:

The colour blocks for the amber palette, meanwhile, all seem to be associated with evening and endings: the crepuscular fox, the autumnal squash and acer leaf, the aged whisky and sunset. The fur of the fox needs some lighter orange tones, but then I can’t wait to mount these up. Each block with be individually mounted and then raised up within a panoramic box mount. I hope it will look like those white artist colour palettes.

I have also just finished another canine commission: this time of a lovely lurcher called Blossom. Apparently she’s quite shy, so I’ve painted her looking to the side, curled up on the sofa. Her mottled fur was such a challenge to paint, but it also helps to convey the shape of her head and body. I originally intended to leave the background plain, but actually the amber and brown hues pick up Blossom’s eye colour, and balance out the composition.

And alongside all that, I have set up a patron scheme and been continuing my miniature work, with a new, ladybird tiny treasure and a new series of 2p animal miniatures in watercolour. I hope to return to these after the Ilkely Art Show. If you can make it to Ilkey on the 10th or 11th of August do come along – I’m told the standard of artwork is very high this year, and it will be an unusual opportunity to see a number of my originals on show together.

 

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